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The Surfaris - 2 in 1 (Hit City'65 & It Ain't Me Babe)

The Surfaris - 2 in 1 (Hit City'65 & It Ain't Me Babe)

A Glendora, CA, surf group remembered for "Wipe Out," the number two 1963 hit that ranks as one of the great rock instrumentals, featuring a classic up-and-down guitar riff and a classic solo drum roll break, both of which were emulated by millions (the number is no exaggeration) of beginning rock & rollers. They recorded an astonishing number of albums (about half a dozen) and singles in the mid-'60s; the "Wipe Out" follow-up, "Point Panic," was the only one to struggle up to the middle of the charts. The Surfaris were not extraordinary, but they were more talented than the typical one-shot surf group; drummer Ron Wilson was praised by session stickman extraordinaire Hal Blaine, and his uninhibited splashing style sounds like a direct ancestor to Keith Moon. He also took the lead vocals on the group's occasional Beach Boys imitations.



The Surfaris - 2 in 1 (Hit City'65 & It Ain't Me Babe)


The Surfaris - 2 in 1 (Hit City'65 & It Ain't Me Babe)


The Wailers - The Fabulous Wailers (1959)


The Wailers - The Fabulous Wailers (1959)


The Wailers - The Fabulous Wailers (1959)


This debut album by the Ventures is surprisingly good, considering that it was recorded in a huge rush during an era when all concerned couldn't help but know that rock & roll albums (apart from those by Elvis Presley) generally didn't sell very well; indeed, the fact that this is so good speaks volumes about the class and talent of the group at this early point in their history. With a sudden and totally unexpected number two national hit in "Walk, Don't Run" and a burgeoning demand for live performances, the quartet went in and recorded the best 11 tracks they knew to get a long player together, all done in such a hurry that the members themselves couldn't stay around long enough to be photographed for the cover (those are stand-ins). The result is surprisingly sophisticated in its use of stereo (then still relatively unusual in rock & roll, stereo LPs only debuted three years earlier and were largely confined to classical recordings), dividing the sound of the band quite neatly on two sides, thus giving LP purchasers a treat that owners of the single "Walk, Don't Run" would miss -- not only the sound separation that was so prized by audiophiles of the era, but crisp presentation of each instrument, dividing the two guitars very neatly. Thus, the casual listener could play with the speaker settings and balances, and the serious fans could get in close on the actual playing. The material is a mix of originals and hits drawn from every category, including earlier rock & roll instrumentals ("Raunchy"), R&B "Night Train," and even film music ("My Own True Love [Tara's Theme]") -- one can just make out the familiar Max Steiner Gone with the Wind motif on the latter, and it is a fairly inventive approach to an old musical chestnut, rebuilding it from the ground up. The material all has a lean jauntiness, most unexpectedly "Night Train," which sounds closer in spirit to Chet Atkins than to Buddy Morrow or King Curtis. The originals were no filler, either, "The McCoy" being a hot piece of surf guitar showcasing all concerned.

The Wailers - The Fabulous Wailers (1959)


The Wailers - The Fabulous Wailers (1959)





VA - Fast-Track! 16 Blazing Instrumentals

VA - Fast-Track! 16 Blazing Instrumentals


1.SCRUB BUCKET-JOHNNIE AND THE CYLCLONES
2.DEVILS RUN-BAILEY'S NERVOUS KATS
3.WASTED-ZAKONS
4.GULLY WASHER-THE SIDEWINDERS
5.LOOK-OUT -THE LOAFERS
6.ROUND ROCK BOOGIE-THE REL-YEA'S
7.SHUTDOWN-THE GEMS
8.SAW MILL RUN-THE MARLINS
9.SHAM-THE PANICS
10.SAFARI-THE MAJESTICS
11.DO IT-THE COUNTDOWNS
12.ZOMBIE-THE ROBINS
13.SCREAMING (PART 2)-THE METROPOLITIANS
14.FAST TRACK-STING RAYS
15.THE LION IS AWAKE-SAMMY AND THE FIVE NOTES
16.RACE RIOT-LOS PERDIDOS

VA - Fast-Track! 16 Blazing Instrumentals

The Esquires - Flashin' Red

The Esquires - Flashin' Red

Instrumental surf/garage band from California. Released in february of '64 "Flashin' Red" b/w "What a Burn". They changed their name several times (LAUGHING GRAVY in '67 then GYPSY BANNED and THE POLICE in '68). The rehearsal sessions on this release were recorded on a home reel to reel machine with one mike!

The Esquires - Flashin' Red


Dicky Loader & The Blue Jeans - Groovy Kinda Sounds (1967)

Dicky Loader & The Blue Jeans - Groovy Kinda Sounds (1967)

Dicky Loader & The Blue Jeans - Groovy Kinda Sounds (1967)







Jerry Cole & His Spacemen - Outer Limits (1963)

Jerry Cole & His Spacemen - Outer Limits (1963)



Jerry Cole & His Spacemen - Outer Limits (1963)


Jerry Cole was a first-call session guitarist in the 1960s who played on a number of Phil Spector's epochal sides and led the pit bands for the rock & roll-oriented TV shows Shindig and Hullabaloo. When he wasn't busy with all that, he cut a number of instrumental rock albums under a variety of assumed names, but Outer Limits features Cole and his band working under his own shingle for a change. Outer Limits is a no-fuss collection of 11 surf-influenced tunes, many of them covers of popular hits of the day, and while Cole's style couldn't be called "revolutionary," there's a lot more muscle in the performances of "Pipeline" and "Wipeout" than on the originals. Cole's discreet use of fuzz and the full-bodied tone he could conjure from his gear give his performances a sound that stands out from others of his ilk, and his originals are strong if basic stuff. If this isn't exactly the Holy Grail for surf fans (and the more passionate might want to spring for Power Surf!: The Best of Jerry Cole & His Spacemen), Outer Limits is still good fun, and anyone who digs classic surf and instrumental sides will get hip to this.

Джери Коул(Jerry Cole)был истинным гением и одним из тех кого заслуженная слава обошла стороной. Джерри Коул умел играть и в стиле сёрф, и кантри, и Go-Go,- он был разнообразным музыкантомю И действительно,если кто-то заслуживает того,чтобы быть замеченным,это было Джерри Коул. Он был одним из самых популярных сессионных музыкантов в Лос-Анжелесе которые работали с крупнейшими именами в те времена,такими как Beach Boys, The Byrds, Фил Спектор(Phil Spector) с Гленом Кэмпбеллом в The Champs с их вечным легендарном теперь хитом,Текила(Tequila). В шестидесятые годы он записал под множеством лейблами и даже с несколькими группами на Shindig и Hullabaloo. Он занимался кантри-музыкой в 70-х и работал с Роджером Миллером(Roger Miller) и был введен в Rockabilly Зал славы в 2004 году. Джерри умер в своем доме Калифорнии в возрасте 68 лет.

01. Jerry Cole & His Spacemen - Outer Limits
02. Jerry Cole & His Spacemen - The Strut
03. Jerry Cole & His Spacemen - Wipe Out
04. Jerry Cole & His Spacemen - Colour Blues
05. Jerry Cole & His Spacemen - Pipeline
06. Jerry Cole & His Spacemen - Sukiyaki
07. Jerry Cole & His Spacemen - Midnight Surfer
08. Jerry Cole & His Spacemen - Pokey
09. Jerry Cole & His Spacemen - Papa-Oom-Mow-Mow
10. Jerry Cole & His Spacemen - Point Panic
11. Jerry Cole & His Spacemen - Tequila
12. Jerry Cole & His Spacemen - Surf Age



Please, I Wanted....

JERRY COLE - PSYCHEDELIC GUITARS
Ace ‎– 2012

Jerry Cole & His Spacemen - Outer Limits (1963)

VA - Surfbeat Behind The Iron Curtain

VA - Surfbeat Behind The Iron Curtain



Recorded between 1963 & 1966. 

VA - Surfbeat Behind The Iron Curtain


This is part of Archive International's Planetary Pebbles series.

Just when you think you've heard it all, along comes this compilation of '60s surf/instrumental rock from behind the Iron Curtain -- a scene that was barely even known to have existed, and whose bands were rarely given the opportunity to even record. Actually, the title is a bit of a misnomer, as 11 of the 24 tracks are actually from non-Communist countries, including West Germany, Japan, Italy, Holland, and the U.K. It's all still damn rare stuff, and surprisingly good, especially when you consider that when the Iron Curtain bands recorded, they usually had to do so on state-owned labels. This nonetheless holds up pretty well against the better instrumental guitar rock from the era, and is not so much influenced by surf music as by the Ventures, the Shadows, and the Tornados. The production (particularly for the Eastern European bands) can be primitive, but the playing can be hot, especially from the Japanese T. Terauchi, the East German Die Sputniks, and the Romanian Sincron. Acts from Poland and Czechoslovakia are also represented; the Czech Slava Kunst Orchestra has to be the weirdest (and most ridiculous) of the lot, with their berserk hybrid of twist rock, nonsense vocals, and wedding dance-band music. That track aside, this is actually a respectable compilation that's not solely of novelty value. ~ Richie Unterberger


Full Title - Surfbeat From Behind The Iron Curtain Vol 1. This CD consists mainly of ultra rare tracks from East Germany, Poland, Romania & Czechoslovakia.
----
* The compilation contains several errors in the liner notes, especially for the Polish releases that are credited to "Black 'N' Whites" and "Alarm", which are in fact album titles. The sound quality is  poor which maybe comes from taking the songs from original mono 7inches without licensing them. 


Track 12 actually from the UK
Track 22 originally issued as Franke-Echo-Quartett

 -----------------------------------------------------------------------------------------
Second compilation of raunchy & extravagant instrumental music recorded during the Cold War. 24 tracks of demented sounds created in extremely difficult conditions by the youth of Eastern Europe.

VA - Surfbeat Behind The Iron Curtain



Part one of this series got a little flak because about half the tracks were recorded by bands that were not from behind the Iron Curtain. No such problem with the follow-up; all 24 cuts were done by groups from East Germany, Russia, Hungary, Romania, Czechoslovakia, and Poland between 1963-1967. Many of them are instrumental, and despite the "Surfbeat" in the album title, it's striking how much they're influenced not by surf music or the Ventures, but by the Shadows. Those galloping rhythms, the tremolo-laden sound with hints of country and Hawaiian music -- it's beyond a doubt that the Shadows, through radio broadcasts or clandestine means, were getting heard in Eastern Europe. Of course the recording conditions and execution were more primitive in these socialist lands, which puts on a layer of spookiness that gives it a certain charm. There are also some vocal numbers that show the more expected British Invasion influence, like the Olympics (from Czechoslovakia) singing in very clumsy English on "Story of the Girl with the Bass Guitar"; the East German Team 4, who sound like a credible American folk-rock garage band; and Romania's Mondial, who do a song that quite resembles Paul Revere & the Raiders' "Just Like Me." Oddly, the T. Schumann Combo (from East Germany) do a pretty faithful and competent cover of Booker T. & the MG's "Hip Hug-Her.

Tony Rivers & The Castaways - Birth Of Harmonies

Tony Rivers & The Castaways - Birth Of Harmonies


Tony Rivers and the Castaways started life as the Cutaways in Dagenham, Essex, approximately 1960. The early line-up was, Vic Larkins & Micky Johnson, gtrs, Ray Brown, bass, and Brian 'Shirt' Talbot on drums. Lead singer at one time, was Bobby Rio, (who later went on to record with Joe Meek). I became lead singer at the end of 1961, having been approached by Ray Brown, and other members of the group, who had been watching me get up to sing with a group at the Cherry Tree pub in Dagenham on a Sunday lunchtime. I’d never been in a group at that time, but I had met the lead singer whilst I was working at Butlins’ Holiday Camp in Clacton. He was on holiday with 'Terry Venables' (who one day would become the England Football manager), he told me that he sang in a group (Joe & the Teens) that played every Sunday lunchtime, at a pub in Dagenham, and when I finished the Butlins’ season, I should go and see them play, which I did. I'd get up and sing two songs, while he walked round the pub with a pint glass, collecting money for the group! Ray Brown asked me if I fancied singing with his group, ‘the Cutaways’ at the Royal Oak pub that night, I said yes, and although there were more people on stage, than in the audience, I enjoyed it enough to say yes again, when they asked if I'd like to join the group. This was probably the first real step I'd taken on the road to being a 'singer'!! I'd taken a couple of small steps during my time at Butlins’, like the occasional 'guest spot' with the Terry Young Six, who played the Rock' n 'Calypso ballroom every night. This was a very good group with some members who went on to better things later, such as, John Rostill, who, not too long after, joined the Shadows and had many hits with them, and even went on to write BIG HITS for artists like, Olivia Newton John, and a certain Elvis Presley. This was also my first meeting with Bruce Baxter, lead guitar, playing all those James Burton 'licks', and who I was to work with many times in the 70's. I also made an appearance at a dance hall in Clacton. My friend, Jock Smith and I had gone to see a group called Dave Curtis and the Tremors (a good 60's name) and I said I'd like to get up and sing with them. Now I needed a name. Tony Thompson was, and is my real name, but that didn't sound cool enough for rock'n'roll. I ended up with the name Rivers. We took this from a Decca records chart that was on the wall. No.6 was Pat Boone’s 'Moody River'. That's how I got the name. I was introduced on stage later, "All the way from London -Tony Rivers"! So now I’m in Tony Rivers and the Cutaways, playing pubs and clubs etc. Every now and then though, we'd play a lunchtime session at the Merry Fiddlers pub, pack our equipment into our van, and head off to the Granada Theatre at East Ham or Walthamstow to play between the films! I'd seen Buddy Holly with the Crickets, on both these stages, this was big stuff! Clem Cattini was always on these gigs, playing drums, with Roger LaVern on organ, us on one side of the stage, another band on the other side, Clem and Roger in the middle, half of the Tornadoes to be!! We'd all play alternately! Bizarre! It could never happen these days, but then, anything was possible. Many years later, Clem, who had now, become a top session drummer, and I, would be working together on several different things i.e. when I became a producer at CBS records in the early 70's, he was one of the CBS 'mafia', and was one of the musicians Mike Smith, head of A/R told me I had to book for the sessions. No wonder all those CBS records sounded the same! A few years after that, we recorded together again, with Cliff Richard, on ‘Devil Woman’ and other hits, and even ended up in Cliffs' band together, for a while. 

The Castaways first manager was a great fellow called Benny Cooper, a former drummer with the ‘Squadronnaires’. He made sure we acted professionally and rehearsed hard (wife Joyce keeping us supplied with tea and coffee), these were good lessons to learn and stayed with me. Ask any of the Castaways! We turned 'professional' within 8 months of my joining the band, bought a van, painted out the words on the side ‘Passingham’s Pork Sausages’ and in claret and blue (of course) wrote Tony Rivers and the Castaways! Our first trip in the van was, our first 'tour of Scotland'. The trouble was, after about a couple of miles of leaving home, the boys in the back were hammering on the sides to stop. We hadn't realised that it was a sealed unit when the doors closed! No one could breathe. We had to break a tiny window in the rear door to let air in. We'd only gone up the road and Scotland seemed a long way off. We didn't even know where it was! Great days! Terry Oates became our manager around this time and got us our first ‘recording tests’ at Decca, and then EMI. 

The line-up for the recording tests was, Ray Brown, Vic Larkins, ‘Shirt’, Mickey Johnson and me on lead vocals, in other words, TR & the Cutaways. We recorded two tunes, one was, the Ricky Nelson version of 'Summertime' and the other was, 'Peter Gunn'. I found out later that Terry Oates wanted us to be an instrumental group, like the Shadows! Where would that have left me? I've never let him forget that! I think it was Terry who suggested we change our name to the Castaways, which sounded better with Tony Rivers, (not that you'd get shipwrecked up a river, would you?) It seemed to work. We must have passed the 'test' and were given a recording date in Abbey Rd Studios, and told which songs our A&R manager (John Burgess) had found for us to record, we rehearsed 'til we knew them backwards, then---- Abbey Rd!! Not that Abbey Rd studio’s in those days, had the reputation that it was to gain from the phonomenal success of ‘The Beatles’, but for us, a daunting prospect nevertheless. 

****


http://www.craftweb.org/web/tony/cast_disc.html

In 1968 the band disbanded and Rivers formed Harmony Grass with former band mates. Their single "Move in a Little Closer" reached No. 24 on the UK Singles Chart in January 1969. They released one album, This Is Us, on RCA, and gave concerts in the UK (including at London's Marquee Club).[5] Rivers left to go solo in 1970.

Tony Rivers & The Castaways - Birth Of Harmonies  (Compilation1998)

Tony Rivers & The Castaways - Birth Of Harmonies

Tony Rivers & The Castaways - Birth Of Harmonies

Tony Rivers & The Castaways - Birth Of Harmonies

Tony Rivers & The Castaways - Birth Of Harmonies

Tony Rivers & The Castaways - Birth Of Harmonies

Tony Rivers & The Castaways - Birth Of Harmonies




The Surfaris - 2 in 1 (Hit City'65 & It Ain't Me Babe)The Wailers - The Fabulous Wailers (1959)VA - Fast-Track! 16 Blazing InstrumentalsThe Esquires - Flashin' RedDicky Loader & The Blue Jeans - Groovy Kinda Sounds (1967)Jerry Cole & His Spacemen - Outer Limits (1963)The Red Snakes - Jovem Brasa (1965;1966)VA - Surfbeat Behind The Iron Curtain Tony Rivers & The Castaways - Birth Of Harmonies The Young Ones - Columbia  Singles

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